To see the other types of publications on this topic, follow the link: Music performance preparation.
Dissertations / Theses on the topic 'Music performance preparation'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 29 dissertations / theses for your research on the topic 'Music performance preparation.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Gardner, David B. "Herbert Howells' Requiem: A guide to preparation and performance." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280285.
Full textAbstract:
Although composed in the 1930s, Herbert Howells' Requiem for unaccompanied voices was not performed or published until the early 1980s. The long period between its composition and publication has left many questions about its origins unanswered. The document attempts to clarify the confusing genesis of Howell's Requiem, and suggests that the motivation behind its composition was the commemoration of those who died in World War I, and not, as has been previously supposed, the death of Howells' son Michael in 1935. The development of Howells' own compositional style is traced through musical influences, and the difficult circumstances of Howells' formative years. Three stylistic influences are discussed: the generation of English composers immediately preceding Howells, the generation of English composers from the sixteenth century, and the English countryside and the tunes of its people. The last two chapters deal with the Requiem in detail, providing conductors with textual and musical analyses and with suggestions for score preparation, rehearsal techniques, and performance logistics.
2
Lee, Sheri Renee. "Four Twelve-Tone Violin Compositions: Performance Practice and Preparation." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242516300.
Full textAbstract:
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.<br>Advisor: Steven Cahn. Title from electronic thesis title page (viewed Aug. 11, 2009). Includes abstract. Keywords: twelve-tone; violin. Includes bibliographical references.
3
Lagerstrom, Elizabeth Hope. "Preparation for Music Degree Programs: Undergraduate Music Majors’ Perceptions of the Degree Program and the Activities that Helped Them Prepare." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306941925.
Full text
4
Michalak, Filip. "Piano Competitions : Preparation and Purpose." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2854.
Full text
5
Blosser, Cyril Andrew. "Ernest John Moeran: Seven Poems of James Joyce A Singer's Guide to Preparation and Performance." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1249616424.
Full text
6
Williams, Bede. "Preparation, rehearsal, performance and reflection : a conductor's autoethnographical study of the process of interpretation." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/15665.
Full textAbstract:
In this study the author investigates his interpretive practice as a conductor, revealing how interpretive operations occur not as discrete and isolated activities, but rather an intertwined cyclic process. The study was based on an experiment of the author conducting five scores on two different occasions separated in time by between one day and several months. The study design included extensive content analysis of over 30 hours of video in which more than 12,000 codes were applied and collated. The study design also included traditional texted research, autoethnographic writing (a 25,000-word practice journal), semi-structured interviews, the use of Sonic Visualiser, and the documentation of a range of score study methods which the author describes as ‘listening in silence'. Although there are numerous studies that compare different performances of the same piece, and consider the extent to which differences are intentional and/or creative, none has been undertaken by a conductor in the role of artist-researcher. The study develops what the author calls the ‘ethos of multiple interpretability', suggesting that a conductor can be ‘animated by' the belief that there is no single correct way to perform a work specified by a score.
7
Burdette, Joy L. "Thomas Pasatieri's Letter to Warsaw: An Examination of Style for Performance Preparation." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377872551.
Full text
8
Ferguson, Katherine. "HIGH SCHOOL BAND SIGHT READING IN THE UNITED STATES:PROCEDURES, PREPARATION, ATTITUDES, AND EXPERIENCES." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1492776380156841.
Full text
9
Griggs, Nicholas E. "War & peace - a themed choral concert: a comprehensive examination of the process of preparation and performance." Kansas State University, 2013. http://hdl.handle.net/2097/16208.
Full textAbstract:
Master of Music<br>School of Music, Theatre, and Dance<br>Julie Yu<br>This document examines five choral octavos for a themed choral concert. The McPherson High School Concert Choir will present a themed choral concert, “War and Peace”, which includes these five octavos, on October 14, 2013 at 7:30pm. The selections reflect the program theme and include historical and theoretical analysis. Along with the analysis, this document also contains rehearsal plans and examines common practices of selecting and preparing literature for a themed choral concert. The choral octavos examined are: The Sword of Bunker Hill arranged by Matthew Armstrong, Lift Up Your Heads arranged by Hal H. Hopson, Down By The Riverside arranged by Rosephanye Powell, Tell My Father arranged by Andrea Ramsey, and Joshua Fit The Battle of Jericho arranged by Mark Hayes.
10
Caldwell, Lisa Marie 1964. "The partsongs of Blas Galindo Dimas (1910-1993): The implications of nationalistic compositional techniques on the conductor's preparation and performance." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290623.
Full textAbstract:
The partsongs of Mexican composer, Blas Galindo Dimas (1910-1993) contain elements of pre-cortesian Mexican music and Mexican mestizo folk music. Galindo's musical background, and the nationalistic currents of thought that were present in Mexico during his youth and education influenced his compositional style. Galindo utilizes specific Mexican folk and indigenous traits. The information available to Galindo regarding pre-cortesian indigenous music is investigated. In addition, the Mexican folk form son is described. The alternation of meter in six and meter in three is known as sesquialtera, and is a defining characteristic of the son, subsequently used by Galindo in the partsongs. The inclusion of Mexican folk and indigenous style traits in Galindo's partsongs has implications for the choral conductor. Nationalistic traits in Galindo's works should be emphasized using proper Mexican folkloric performance practice. In addition, Galindo shows a high degree of sensitivity to the text. His declamation of the text preserves the natural word stress and paints word meanings with musical conventions. Descriptions of selected partsongs seek to identify nationalistic traits and the relationship of rhythm and meter to the text. The conductor is given rehearsal and performance suggestions for dealing appropriately with those traits.
11
Bunte, James. "A Player’s Guide to the Music of Ryo Noda: Performance and Preparation of Improvisation I and Mai." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282578051.
Full text
12
Calite, Iveta. "Piano Concerto in G by Maurice Ravel : The performance preparation process in the context of various influences on the performer." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3017.
Full textAbstract:
In this study, I do a research on my own ways and the influences that helped me to prepare Ravel’s Piano Concerto in G interpretation and performance. Is it an intuition, inspiration from a recording or something I have learned in a master- class. I went through Ravels’ piano music to see the development of the interpretation that blossomed into the Concerto. I looked at the preparation process that I did on my own, then together with the second pianist and at the end with the conductor. I have described my feelings after the performance as well as looked into different recordings of famous artists. The various influences are hard to measure since the artistic process is always under a constant change and development but looking closer to the sources of inspiration made me realize that everything I have experienced in connection to Ravel’s music has influenced my understanding and interpretation of the Concerto, most of all the master-classes with J.Hlinka, P.Roberts and M.Sturfält.
13
McDannald, Brandon K. "Performance Editions of Three Works for Winds by Gyorgy Druschetzky." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248398/.
Full textAbstract:
Gyorgy Druschetzky was a noted Czech composer of Harmoniemusik, who wrote more than 150 partitas and serenades, along with at least thirty-two other selections for larger wind groups. This is in addition to twenty-seven symphonies, eleven concertos (most for wind instruments), two fantasias, forty-seven string quartets, two operas, a ballet that is lost, and other miscellaneous chamber music for various combinations of wind/string instruments. Three of his works for winds have existed only in manuscript form since their composition: Concerto in E-flat pour 2 clarinett en B, 2 cors en E-flat, 2 fagott; Overture to Mozart's Die Zauberflöte; and Partitta a la camera a corno di bassetto primo, secondo, terzo, due corno di caccia, due fagotti. These works remain remarkably interesting to modern ears and deserve to be heard in the twenty-first century. Along with a brief examination of Druschetzky's life and how it figures into the history of Harmoniemusik, this work presents each piece edited into a modern performance edition.
14
Sousa, Sérgio Luiz de. "A prática mental como estratégia pedagógica na preparação para a performance musical /." São Paulo, 2020. http://hdl.handle.net/11449/192947.
Full textAbstract:
Orientador: Sonia Ray<br>Resumo: Esta tese investiga o papel da prática mental no processo de preparação para a performance musical. Adota como referencial teórico o conceito de pedagogia da performance musical de Ray (2015), que propõe uma abordagem interdisciplinar entre a educação e a atuação prática do músico. O objetivo geral desta pesquisa é propor a prática mental como estratégia pedagógica na preparação para a performance musical. A metodologia inclui revisão da literatura disponível, pesquisa de campo (questionário aplicado a estudantes e professores de performance musical de cursos graduação e pós-graduação no Brasil) e discussão dos resultados. O trabalho está estruturado em quatro capítulos: 1. Revisão de literatura, 2. Metodologia e pesquisa de campo, 3. Discussão dos resultados, 4. Estratégias pedagógicas para aplicação da prática mental. As conclusões apontam para a confirmação da tese de que a prática mental pode ser uma importante ferramenta pedagógica no processo de preparação para a performance musical.<br>Abstract: This dissertation investigates the role of mental practice in the process of preparation for musical performance. It has as theoretical reference the concept of music performance pedagogy by Ray (2015), who proposes an interdisciplinary approach between the field of education and the practical acting of the musician. The main objective of this research is to propose mental practice as a pedagogical strategy in preparation for music performance. The methodology includes review of available literature, field research (questionnaire applied to students and teachers of music performance of undergraduate and graduate courses in Brazil) and discussion of the results. The dissertation is divided in four chapters: 1. Literature review, 2. Methodology and field research, 3. Discussion of results, 4. Pedagogical strategies for using mental practice. The conclusions point to the confirmation of the thesis that mental practice can be an important pedagogical tool in the process of preparation for musical performance.<br>Doutor
15
Seebacher, Robert J. "AN EXAMINATION OF A CONDUCTOR’S PERFORMANCE PREPARATION OF THE MENDELSSOHN VIOLIN CONCERTO IN E MINOR." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/29.
Full textAbstract:
The music of Felix Mendelssohn-Bartholdy (1809-47) has earned a prominent position in the orchestral repertoire. One of his greatest works, and certainly one of the most performed, is his Violin Concerto in E minor, Op. 64. The work enjoys much popularity with, and recognition by, soloists, orchestras, and conductors alike. Even with its fame and familiarity, it remains a work that must be carefully studied and prepared by the conductor. This document presents an examination of a conductor’s performance preparation of the Mendelssohn Violin Concerto. The purpose of this examination is to equip the conductor with a depth of knowledge that will yield rehearsals and performances of the concerto that are stylistically appropriate, well informed, and efficient. Major sections include an examination of the concerto’s 1844 and 1845 versions and available performance materials, tempo selection and execution, size, balance and composition of the orchestra, stylistic traits, and aspects of performance practice.
16
Sousa, Aurélio Nogueira de. "Ansiedade na preparação da performance no ensino de instrumentos de banda." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5022.
Full textAbstract:
Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2015-12-08T09:07:07Z
No. of bitstreams: 2
Dissertação - Aurélio Nogueira de Sousa - 2015.pdf: 2296854 bytes, checksum: 8fc32620e9bb7ecc8829b6bcc48f5b7f (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-12-08T09:09:14Z (GMT) No. of bitstreams: 2
Dissertação - Aurélio Nogueira de Sousa - 2015.pdf: 2296854 bytes, checksum: 8fc32620e9bb7ecc8829b6bcc48f5b7f (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Made available in DSpace on 2015-12-08T09:09:15Z (GMT). No. of bitstreams: 2
Dissertação - Aurélio Nogueira de Sousa - 2015.pdf: 2296854 bytes, checksum: 8fc32620e9bb7ecc8829b6bcc48f5b7f (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Previous issue date: 2015-03-31<br>The present text approaches the performance preparation process of the students in the music
bands from Goiânia, particularly the impact that anxiety can cause in this process. Since the
mid-twentieth century the studies about the preparation for a musical performance with
support in other fields such as psychology and neuroscience have intensified. In the reality of
the bands, some studies observe that students and teachers need to deal with problems of a
psychological nature that interfere in many ways in the teaching-learning process. With the
intent of contributing to the advance of these studies, this work aims mainly at detecting what
is the impact caused by anxiety in the performance preparation process of the students in the
music bands from Goiânia. The methodology has been divided in two main stages. The first
was a literature revision about the collective teaching of band instruments and about the
musicalization process in the music bands in Brazil. The second was a field research in which
the K-MPAI inventory was applied and a specific consultation about performance practice in
the music bands from Goiânia has taken place. As the main result of this stage of the research,
it was possible to conclude that t level of anxiety in the process of preparation for
performance in the students in the 3 music bands investigated from the city of Goiânia is
moderate. However, it was detected that some individuals present high levels of anxiety
associated with pain, with the lack of information about music psychology as well as
unawareness about body maintenance in the musical practice, what indicates that younger
musicians are in the need for prevention actions.<br>O presente trabalho aborda o processo de preparação da performance dos alunos das
bandas de música de Goiânia, particularmente o impacto que a ansiedade pode causar
nesse processo. Desde meados do século XX, os estudos sobre a preparação para a
performance musical com apoio em outras áreas do conhecimento como a psicologia e
a neurociência intensificaram-se. Na realidade das bandas, alguns estudos observam
que alunos e professores precisam lidar com problemas de ordem psicológica que
interferem de várias formas no processo de ensino-aprendizado. No sentido de
contribuir para o avanço desses estudos, este trabalho tem por objetivo principal
identificar qual o impacto causado pela ansiedade no processo de preparação da
performance dos alunos das bandas de música de Goiânia. A metodologia foi dividida
em duas etapas principais. A primeira foi uma revisão da literatura sobre ensino
coletivo de instrumentos de banda e sobre o processo de musicalização nas bandas de
música no Brasil. A segunda etapa foi a aplicação do K-MPAI – Kenny Music
Performance Anxiety Inventory, e da consulta específica sobre prática da performance
dos músicos das bandas de música de Goiânia. Como resultado parcial da etapa de
aplicação do inventário desta pesquisa, pode-se concluir que o nível da ansiedade no
processo de preparação para a performance dos alunos nas vinte bandas goianienses
investigadas é moderado. Contudo, detectou-se que alguns indivíduos mais
experientes apresentam níveis de ansiedade altos associados a dores, à falta de
informação sobre psicologia da música, bem como desconhecimento sobre cuidados
do corpo na prática musical indicando que os músicos mais novos carecem de medidas
de prevenção.
17
Sullivan, Ryan W. "A Performance Edition of the Vespers Settings in Sacri E Festivi Concenti, Opera Nona by Giovanni Legrenzi." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505211/.
Full textAbstract:
Giovanni Legrenzi was a prolific composer of vocal music and maestro di cappella at the Basilica di San Marco but his vocal works are not often studied as a part of the Venetian lineage with composers such as Willaert, de Rore, Zarlino, Monteverdi, Cavalli, and Vivaldi. Despite his being a prolific composer who had significant influence on the work of other musicians in the traditional canon, references to Legrenzi in standard music publications (Grout, Taruskin, Grove Music Online, etc.) are at best sparse, and largely biographical. This dissertation is one step to correct that pattern by creating a performance edition of Sacri e festivi concenti, Opera nona, one of Legrenzi's significant works near the beginning of his Venetian period. This collection of sacred music was published on 12 June 1667 in Venice though Legrenzi's exact whereabouts at the time remain uncertain. This phase of his career can be defined by his having sought more prestigious and lucrative employment. Having lived and worked in rural Lombardy and Ferrara, he made unsuccessful overtures in places such as Milan, Bologna, Vienna, and Paris. A full score has been produced by transcribing from the part books of the Bologna Museo copy, which will allow consumers to have insight into Legrenzi's music. A performance edition of these Vespers settings is important because it would increase access to, and understanding of, Giovanni Legrenzi's music. This era of Italian music between Monteverdi and Vivaldi is often underperformed by practitioners. One goal of this project is to broaden the work's circulation through a music publisher that would be willing to include portions of the chapters outlined in this proposal. Doing so would offer the work as a good specimen of the period to a wider audience of performers and scholars alike.
18
Hugne, Martin. "Formtoppning : Kan brassmusiker lära sig något av idrottare i fråga om förberedelser?" Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4838.
Full textAbstract:
<p>I denna undersökning har jag undersökt idrottares och brassmusikers förberedelser inför prestationstillfällen, d.v.s. konsert, provspelning respektive träning eller match.Min hypotes inför undersökningen var att brassmusiker skulle ha mycket att lära av idrottare som eventuellt har ett mer utvecklat metodiskt tänkande kring hur man förbereder sig fysiskt och mentalt för att kunna prestera med självförtroende på en hög och stabil nivå. Till viss del visade sig detta stämma men i vissa avseenden blev jag förvånad så väl över brassmusikernas medvetenhet som idrottarnas omedvetenhet.Min undersökning består i två enkäter varav den ena riktade sig till brassmusiker och den andra riktade sig till idrottare (utan någon specifikation när det gällde idrottsgren).Dessa enkäter var utformade så lika varandra som möjligt för att möjliggöra så korrekta jämförelser det gick trots de båda gruppernas uppenbara olikheter.</p><br><p>In this study, I have investigated athletes and brass musicians, and their preparation for tense situations that demand performance at a high level. Examples of that could be concerts, auditions respectively competitions, or matches.My hypothesis before this study was that brass musicians could learn from athletes who possibly have a more well-developed methodic thinking with regard to preparations, both physical and mental, with an aim to be able to deliver with self confidence on a high and stabile level of performance.This proved to be partially correct, but in some aspects I was surprised, both considering the musicians’ awareness, but also considering the athletes lack thereof.The research consists of two questionnaires, in which one is directed to brass musicians and the other directed to athletes (without any specification of specific area or sport).These questionnaires were constructed to be as similar as possible to enable as correct comparisons as possible despite the two group’s obvious differences.</p>
19
Spencer, David W. "Performing the Trumpet works of Donald Erb; A Guide to Preparation, Interpretation and Practices: A Lecture Recital, Together with Three Recitals of Selected Works by Purcell, Hindemith, Holmes, Friedman, Koetsier and Others." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3207/.
Full textAbstract:
This study is a guide to the performer on practices associated with the trumpet music of Donald Erb. It examines the following solo and duo compositions for trumpet: the as yet unpublished Sonatina for Trumpet and Piano (1954); Four Duets for Trumpets (1960); Diversion for Two for trumpet & percussion (1966); Concerto for Trumpet and Orchestra (1980); Remembrances for two trumpets (1994); and Dance, You Monster, To My Soft Song for solo trumpet (1998). A history of each composition and information concerning the performers who premiered them are documented. An examination of particular harmonic, melodic and rhythmic elements found frequently in these pieces follow. The pieces are further assessed for difficulty through an investigation of extended technical demands, range, endurance and articulation. Additional discussion focuses on the use of mutes, tempos and dynamics as well as suggestions for the preparation and performance of these works. The dissertation concludes with a review of Donald Erb's legacy as a composer and teacher. A comprehensive discography and complete list of Mr. Erb's compositions are included in appendices.
20
Wood, James J. "A Historical and Analytical Examination of the Stravinsky Octet for Wind Instruments, with a Guide to Performance Preparation of the Two Trumpet Parts." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3593.
Full textAbstract:
Thesis (D.M.A.)--University of North Texas, 2007.<br>System requirements: Adobe Acrobat Reader. Accompanied by recitals, recorded Mar. 22, 1999, Nov. 29, 1999, and Sept. 11, 2006. Includes bibliographical references (p. 52-53).
21
Wenger, Alan J. "The Solo Compositions for Trumpet of Fisher Aubrey Tull: An Analysis of Structural, Technical, and Stylistic Elements for Performance Preparation, with Three Recitals of Selected Works by Bozza, Fasch, Haydn, Tomasi, and Others." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/wenger%5Falan%5Fj/index.htm.
Full textAbstract:
Thesis (D.M.A.)--University of North Texas, 2002.<br>Accompanied by 4 recitals, recorded Nov. 25, 1996, Mar. 1, 1999, Nov. 1, 1999 and Apr. 8, 2002. Includes discography (p. 142-143) and bibliographical references (p. 144-150).
22
Lucena, Diuliano Vitor. "Obras para contrabaixo com gêneros da música popular brasileira: performance e aspectos pedagógicos." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7213.
Full textAbstract:
Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-04-25T15:24:15Z
No. of bitstreams: 2
Dissertação - Diuliano Vitor Lucena - 2017.pdf: 2410127 bytes, checksum: bbbd8f84cb6ee5c5514c52c8675ef9f2 (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-04-25T15:24:44Z (GMT) No. of bitstreams: 2
Dissertação - Diuliano Vitor Lucena - 2017.pdf: 2410127 bytes, checksum: bbbd8f84cb6ee5c5514c52c8675ef9f2 (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Made available in DSpace on 2017-04-25T15:24:44Z (GMT). No. of bitstreams: 2
Dissertação - Diuliano Vitor Lucena - 2017.pdf: 2410127 bytes, checksum: bbbd8f84cb6ee5c5514c52c8675ef9f2 (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Previous issue date: 2017-03-30<br>Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG<br>This paper addresses interpretative and pedagogical aspects of double bass works within Brazilian popular music genders. The major objective is to update the Brazilian Online Catalog of Erudite Work for Double Bass (RAY, 2005), and discuss interpretative and teaching aspects from the selection of work which presents characteristics of brazilian popular music genders in this collection. The methodology is qualitative and it presents, at first, a discussion of the addressed repertoire. Next, it develops a proposal for pedagogical and interpretation possibilities applicable to the bassist training. The work is organized in three parts: process of catalog update, selection of the work which was debated and discussion about the performance the performance and suggestions for studies of the workpieces. As a result, 81 new workpieces, which were accumulated from 2006 to 2016, were listed and included in the catalog that bear 136 compositions. After this update, the catalog currently bears 222 workpieces, and 81 of these workpieces hold elements of the Brazilian Popular Music Gender. It is concluded with the proposal of a possible pedagogical path in order to study and solve technical problems as articulation (bow stroke and bowing) in repertoire with choro and baião citations, in order to exemplify and suggest how to perform works with citations of MPB genders in concert music.<br>Este trabalho trata de aspectos pedagógicos e interpretativos em obras para contrabaixo que se enquadram em gêneros da música popular brasileira. O objetivo principal é atualizar o Catálogo Brasileiro de Obras Eruditas para Contrabaixo On-Line (RAY, 2005) e discutir aspectos pedagógicos e interpretativos, a partir da seleção de obras que apresentam características dos gêneros da música popular brasileira neste acervo. A metodologia tem caráter qualitativo e apresenta, num primeiro momento, uma análise reflexiva sobre o repertório abordado. Em seguida, desenvolve uma proposta pedagógica e de interpretação aplicável nos estudos do contrabaixista. O trabalho está organizado em três partes: processo de atualização do catálogo, seleção das obras discutidas, discussão sobre a performance e sugestões de estudo das obras. Como resultado, foram listadas e incluídas no catálogo que continha 136 composições, mais 81 novas peças que foram acumuladas de 2006 até 2016. Com essa atualização o catálogo está atualmente com 222 peças, sendo que 81 dessas contêm elementos de Gênero da Musica popular Brasileira. Conclui-se com a proposta um possível caminho pedagógico para o estudo e resoluções de problemas técnicos como a articulação (golpe de arco e arcadas) em repertório com citação de choro e baião, a título de exemplo e sugestão de como lidar com citações de gêneros da MPB na música de concerto.
23
Scaggs, Leanne. "A Modern Performance Edition of Nina D'Aubigny Von Engelbrunner's Deutsche, Italienische und Französische Gesänge mit Begleitung des Pianoforte." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505194/.
Full textAbstract:
This dissertation examines the work of German composer and vocal pedagogue Nina d'Aubigny von Engelbrunner through her collection of songs entitled "Deutsche, Italienische und Französische Gesänge mit Begleitung des Pianoforte," published in 1797. A brief overview of the life and works of Ms. d'Aubigny is provided, followed by a discussion about the "woman question" as it relates to Ms. d'Aubigny's works. The second part of this project includes a new, modern performance edition of the collection of songs, complete with general editorial guidelines, notes and translations, and a critical report detailing all deviations from the original 1797 edition.
24
Domenech, Mauro [UNESP]. "Música de câmara na formação do músico profissional: aspectos pedagógicos, escolha e adaptação de seu repertório." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/157182.
Full textAbstract:
Submitted by MAURO DOMENECH (mdomenech@ig.com.br) on 2018-09-28T00:31:10Z
No. of bitstreams: 1
cópia de Dissertação Completa.pdf: 122313941 bytes, checksum: 9864e0889ff3f919e9002acc5fb49be6 (MD5)<br>Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-09-28T19:45:29Z (GMT) No. of bitstreams: 1
domenech_m_me_ia.pdf: 122293232 bytes, checksum: f053ca18b8c07324cb4ac8add6fdbff1 (MD5)<br>Made available in DSpace on 2018-09-28T19:45:29Z (GMT). No. of bitstreams: 1
domenech_m_me_ia.pdf: 122293232 bytes, checksum: f053ca18b8c07324cb4ac8add6fdbff1 (MD5)
Previous issue date: 2018-07-30<br>Este trabalho discute a música de câmara na formação do músico profissional, seus aspectos pedagógicos, a escolha e adaptação de seu repertório. Apresenta a prática da música de câmara como parte fundamental na formação do músico (instrumentista/cantor), com suas peculiaridades e características na educação musical, especialmente em relação à interpretação musical, às práticas de conjunto e à preparação para a performance. A metodologia consistiu em um estudo de caso de uma instituição de ensino profissionalizante representativa nacionalmente, situada na cidade de São Paulo, a Escola Municipal de Música de São Paulo – EMMSP, onde o pesquisador é professor de música de câmara. Envolveu coleta de dados de fontes disponíveis online e publicações, com aplicação do método teórico-reflexivo, implicando em revisão de literatura e estudo da estrutura pedagógica relacionada à disciplina música de câmara. O trabalho está organizado em três partes. Na primeira, apresenta-se uma revisão de literatura, discutindo o estado atual da questão no meio acadêmico. Na segunda, parte discute-se a função pedagógica da música de câmara enquanto disciplina na escola de formação profissional e faz-se uma proposta de metodologia para esta disciplina. Na terceira, discute-se a escolha e adaptação do repertório didaticamente orientado à disciplina, a disponibilidade de partituras e aplicabilidade da transcrição na adequação deste repertório em função da realidade cotidiana do professor.<br>This work discusses chamber music in the development of the professional musician, its pedagogical aspects and the choice and adaptation of its repertoire. The study presents the practice of chamber music as a fundamental part in the musician’s training (instrumentalist/singer) as well as its peculiarities and characteristics in musical education, especially as relative to musical interpretation, group practice and the preparation for performance. The methodology consists of a case study of a representative vocational training institution, located in the city of São Paulo, the Municipal School of Music of São Paulo – EMMSP, where the author of this study is a chamber music teacher. The research involved the collection of data from online sources and printed material, with application of the theoretical-reflexive method involving literature review and study of the pedagogical structure as related to the chamber music class. The work is organized in three parts. The first presents a literature review and a discussion of the state of the art in the academic environment. The second discusses the pedagogical function of chamber music as a discipline in the curriculum of the school and the proposed methodology in the class. The third discusses the choice and adaptation of the repertoire for use in the class, the availability of scores and the applicability of transcription for use in the daily routine of the teacher.
25
Dellstig, Sofia. "Att arbeta med helheten : En kvalitativ intervjustudie av lärares syn på arbetet med sceniska förberedelser i sångundervisning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-68292.
Full textAbstract:
Syftet med studien är att genom intervjuer undersöka hur sånglärare erfar att de arbetar med sceniska förberedelser i sin undervisning och även deras tolkning och syn på begreppet. I bakgrundskapitlet presenteras litteratur och forskning som är relevant för studien. Bakgrundskapitlet belyser olika aspekter av sceniskt förberedelsearbete så som nervositet, förmedling av känslor, kroppskännedom, olika program och metoder för att förbättra framträdanden, uttryck med mera. Studien har utgått från ett fenomenologiskt perspektiv som passar bra vid en undersökning av ett specifikt fenomen. Genom semistrukturerade intervjuer blev fyra sånglärare intervjuade kring sceniskt förberedelsearbete. Efter genomförd tematisk analys visade resultatet en viss samsyn mellan lärarnas tolkningar av begreppet. I resultatkapitlet redogörs för de intervjuade sånglärarnas tolkning av fenomenet sceniskt förberedelsearbete samt hur de erfar att de arbetar med detta. Detta presenteras bland annat genom olika metoder och hjälpmedel som lärarna erfar att de använder i sin undervisning. Här presenteras även olika delar som lärarna anser ingår i sceniskt förberedelsearbete, exempelvis scenisk framställning, tolkning och förståelse av text med mera. Resultatet belyser även vilka delar de ser som mest centrala i detta arbete. Avslutningsvis diskuteras delar av resultatet och metoden i relation till den litteratur och forskning som presenterats i bakgrundskapitlet. Här diskuteras bland annat lärarnas olika benämningar och tolkningar exempelvis utvärdering, reflektion och att ställa frågor. Därefter följer en redogörelse av arbetets betydelse och möjlig fortsatt forskning inom ämnet.<br>The purpose of this study is to explore vocie teachers views on performance preparations and how they implement these thoughts in their work. The background chapter describes literature and previous research on performance preparations. Different aspects of performance preparations are presented, such as portraying different emotions, body awareness, various programs and methods to improve one’s performance, expression etcetera. Phenomenology was used as the theoretical framework and the method was semi-structured interviews. Following the method of thematic analysis, the result showed a certain consensus between the teachers’ interpretation of performance preparations. The result shows the informants’ interpretations of performance preparations as a phenomenon as well as how they experience they’re implementing this in their teaching. Different methods, aids etcetera are presented as well as the informants’ perceptions of performance preparations. Lastly, parts of the result and method are discussed in relation to the literature and research presented in the background chapter. Here,the teachers’ different names and interpretations of similar phenomenons such as evaluation, reflecting and asking questions are discussed. Thereafter, a statement of the importance of this study follows as well as possible further research on the subject.
26
Carvalho, Cristiane dos Santos. "Os elementos da performance musical (EPM) na preparação de recitais de grupos de flautas doce." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6122.
Full textAbstract:
Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-09-05T14:09:56Z
No. of bitstreams: 9
Dissertação - Cristiane dos Santos Carvalho - 2016 - Pate 1.pdf: 1300679 bytes, checksum: c70f30f0f34b22b03c7e342a412f2523 (MD5)
Track01.cda: 44 bytes, checksum: b94abcd71973e03adf1914510ee30e84 (MD5)
Track02.cda: 44 bytes, checksum: 0285fc3e4b30cf97cb77d54d504d5ad4 (MD5)
Track03.cda: 44 bytes, checksum: d3863cebfa5f9808098399083a201498 (MD5)
Track04.cda: 44 bytes, checksum: afff3ebf8d1f1295b4fc1456c105f828 (MD5)
Track05.cda: 44 bytes, checksum: 6da78de7f23e71708a9ce079dbdfd177 (MD5)
Track06.cda: 44 bytes, checksum: 41d8c5f170665824f9b970997919f449 (MD5)
Track07.cda: 44 bytes, checksum: 0da294956b7c612de2585d776b2aa88a (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-09-06T13:07:51Z (GMT) No. of bitstreams: 9
Dissertação - Cristiane dos Santos Carvalho - 2016 - Pate 1.pdf: 1300679 bytes, checksum: c70f30f0f34b22b03c7e342a412f2523 (MD5)
Track01.cda: 44 bytes, checksum: b94abcd71973e03adf1914510ee30e84 (MD5)
Track02.cda: 44 bytes, checksum: 0285fc3e4b30cf97cb77d54d504d5ad4 (MD5)
Track03.cda: 44 bytes, checksum: d3863cebfa5f9808098399083a201498 (MD5)
Track04.cda: 44 bytes, checksum: afff3ebf8d1f1295b4fc1456c105f828 (MD5)
Track05.cda: 44 bytes, checksum: 6da78de7f23e71708a9ce079dbdfd177 (MD5)
Track06.cda: 44 bytes, checksum: 41d8c5f170665824f9b970997919f449 (MD5)
Track07.cda: 44 bytes, checksum: 0da294956b7c612de2585d776b2aa88a (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Made available in DSpace on 2016-09-06T13:07:51Z (GMT). No. of bitstreams: 9
Dissertação - Cristiane dos Santos Carvalho - 2016 - Pate 1.pdf: 1300679 bytes, checksum: c70f30f0f34b22b03c7e342a412f2523 (MD5)
Track01.cda: 44 bytes, checksum: b94abcd71973e03adf1914510ee30e84 (MD5)
Track02.cda: 44 bytes, checksum: 0285fc3e4b30cf97cb77d54d504d5ad4 (MD5)
Track03.cda: 44 bytes, checksum: d3863cebfa5f9808098399083a201498 (MD5)
Track04.cda: 44 bytes, checksum: afff3ebf8d1f1295b4fc1456c105f828 (MD5)
Track05.cda: 44 bytes, checksum: 6da78de7f23e71708a9ce079dbdfd177 (MD5)
Track06.cda: 44 bytes, checksum: 41d8c5f170665824f9b970997919f449 (MD5)
Track07.cda: 44 bytes, checksum: 0da294956b7c612de2585d776b2aa88a (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Previous issue date: 2016-03-30<br>Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG<br>The Final Product of Masters Degree presented here consists of two required parts: Part A (Artistic Production) and Part B (Scientific Production). The artistic part is composed of concerts presented throughout the process, including the defense recital, directly related to the developed research. The scientific part consists of an article that addresses the preparation of Brazilian recorder‟s ensembles at universities from the perspective of Musical Performance Elements (MPE) concept used as a focus of the research that was developed by RAY (2005). The main objective of the research was to identify the recorder active groups in universities, know how they work and indicate ways to optimize the preparation of this kind of group. The adopted methodological procedure was literature review on the subject and field research to identify the recorder active ensembles in Brazilian universities, followed by the organization and discussion of results. At last, we used the material gathered and discussed as a basis for the development of suggestions for the preparation of recitals in recorder‟s ensemble.<br>O Produto Final de conclusão de Mestrado aqui apresentado é composto de duas partes obrigatórias: Parte A (Produção Artística) e Parte B (Produção Científica). A parte artística é composta pelos recitais apresentados ao longo do curso, incluindo o recital de defesa, diretamente relacionado com a pesquisa desenvolvida. A parte científica é constituída por um artigo que aborda o processo de preparação de grupos de flautas doces de universidades brasileiras sob a ótica dos Elementos da Performance Musical (EPM), conceito utilizado como foco da pesquisa que foi desenvolvido por RAY (2005). O objetivo principal da pesquisa foi identificar os grupos de flautas doces ativos em universidades, entender como eles funcionam e indicar formas de otimizar a preparação deste tipo de grupo. O procedimento metodológico adotado foi revisão de literatura sobre o tema e pesquisa de campo para identificação dos grupos de flautas doces ativos em universidades brasileiras, seguidos da organização e discussão dos resultados. Ao final, utiliza-se do material reunido e discutido como base para a elaboração de sugestões para a preparação de recitais em grupos de flautas doces.
27
Freccia, Gustavo Weiss. "Critérios de elaboração de programas e seus reflexos na preparação de recitais de canto." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4710.
Full textAbstract:
Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2015-10-21T20:44:40Z
No. of bitstreams: 2
Dissertação - Gustavo Weiss Freccia - 2015.pdf: 1965874 bytes, checksum: c42ec874b14a3b9279853218028b4521 (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-22T12:15:40Z (GMT) No. of bitstreams: 2
Dissertação - Gustavo Weiss Freccia - 2015.pdf: 1965874 bytes, checksum: c42ec874b14a3b9279853218028b4521 (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Made available in DSpace on 2015-10-22T12:15:40Z (GMT). No. of bitstreams: 2
Dissertação - Gustavo Weiss Freccia - 2015.pdf: 1965874 bytes, checksum: c42ec874b14a3b9279853218028b4521 (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Previous issue date: 2015-03-30<br>Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG<br>This work discusses the problem of performance preparation focusing on the repertoire choice for a voice recital and also analyses how the pieces selection and their sequence affect the interpreter during the recital preparation as well as the possible effects of such selection on performance. This work is divided in two parts (A and B): part A being ARTISTIC PRODUCTION, composed by two recitals with a diverse repertoire which were publicly presented and judged by a jury, the second one with repertoire related with the research; and part B being SCIENTIFIC PRODUCTION, composed by a scientific article publishable in the parameters of research in music. The literature on performance preparation points to a certain tradition of organizing the pieces sequence in a chronological way, usually including pieces which are representative of certain periods of Western music History, often focusing on the 18th and 19th century and the first half of the 20th century also. However, such way of organizing the pieces sequence is not always the most organic one for interpreters. Therefore, it is important to investigate how adopting flexible and general criteria (for the recital program structuring) and how applying study strategies might contribute for an optimized artistic performance. We take into account the possibility that a singer can, when performing, be affected by such things as anxiety triggered by an improper pieces sequence selection considering the singer‟s voice and the occasion. Thus, such factors, too, play a major role in the research. This hypothesis is investigated through a review of the performance preparation literature and performance psychology as well as by a survey interviewing singers and going through recital programs (the singers interviewed were music faculty teachers). Finally, the research is concluded that applying such strategies to pieces sequence and selection in singing program repertoire (as part of a performance preparation) brings more satisfactory results for interpreters.<br>Este trabalho discute a preparação para a performance com enfoque na escolha de repertório para um recital de canto, e analisa como a seleção das peças e sua disposição impactam o intérprete no momento da preparação para um recital, bem como as possíveis interferências desta seleção na performance. O trabalho é dividido em duas partes, a saber: PARTE A: PRODUÇÃO ARTÍSTICA, composta por dois recitais com repertório variado, apresentados publicamente e apreciados por banca sendo o segundo apresentado na defesa com repertório diretamente relacionado com a pesquisa; e PARTE B: PRODUÇÃO CIENTÍFICA, composta por um artigo publicável seguindo modelos da área de música. O texto mostra que a literatura sobre preparação para performance aponta certa tradição de se manter as obras em ordem cronológica, com inclusão de peças representativas de alguns períodos da história da Música Ocidental – geralmente concentrada nos séculos XVIII, XIX e início do XX. Essa, no entanto, nem sempre é a disposição mais orgânica para os intérpretes. Por isso, é pertinente investigar em que medida a adoção de critérios flexíveis e abrangentes na estruturação do programa de recital e na aplicação de estratégias de estudo podem contribuir para um melhor desempenho artístico. Leva-se em conta, nesta investigação, a possibilidade do cantor ser impactado, no momento da performance, por ansiedade, desencadeados por uma escolha e/ou sequência inadequada de obras, ou ainda inadequação à voz do cantor ou à ocasião da performance. Tais fatores são investigados mediante revisão de literatura sobre preparação para performance e psicologia da performance, bem como com a aplicação e avaliação de duas consultas e de programas de recitais realizados por cantores atuantes como docentes em cursos de nível superior. Ao final do artigo confirma-se que a aplicação de estratégias na escolha/ordenação de repertório num programa de canto, durante a preparação para a performance, resulta em resultados mais satisfatórios para os intérpretes.
28
KAMINSKI, Leonardo Casarin. "Preparação e planejamento da performance do violonista: estudo da obra homenagem a Villa-Lobos Op.46 de Marlos Nobre." Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tde/2715.
Full textAbstract:
Made available in DSpace on 2014-07-29T16:25:13Z (GMT). No. of bitstreams: 1
Artigo - Mestrado UFG - KAMINSKI.pdf: 1811459 bytes, checksum: bbbd1d2e408d2284e4bf7b52161a4530 (MD5)
Previous issue date: 2012-04-03<br>This paper presents the preparation and planning for the performance of a piece for solo guitar. For this purpose, the guitarist used pre-selected teaching and instrumental materials over the course this investigation. The criteria used to choose the piece were that it should reflect the technical and musical aspects of the repertoire commonly involved in academic training of guitar students. The piece Homenagem a Villa-Lobos op.46 by the composer Marlos Nobre was chosen. The preparation of this piece was divided into four stages: 1) Definition of goals and objectives; 2) scheduling, planning the construction of the performance ; 3) Choice of the fingering; 4) Solution of motor difficulties; 5) musical memorization. The accomplishment of these steps in this investigation was based on the theoretical references chosen. This end-of-course article is divided into two main parts. The first part contains materials from the literature search and selected during the research. Finally, a report about the preparation of the musical work was prepared, in which the steps and processes of choices are described on the basis of the previously established literature for the preparation of an instrumental work.<br>Este trabalho apresenta a preparação e planejamento da performance em uma obra para violão solo. Para isso, o violonista utilizou materiais didáticos e instrumentais previamente estabelecidos, no decorrer da presente investigação. Os critérios utilizados para a escolha da obra foram de que esta deveria refletir aspectos técnicos e musicais do repertório comumente abordados na formação acadêmica dos estudantes de violão. Para isso foi eleita a Homenagem a Villa-Lobos op.46 do compositor Marlos Nobre. Para a realização do processo de preparação da peça musical em questão, foram escolhidas algumas etapas que nortearam a presente investigação, dentre elas: 1) definição de metas e objetivos; 2) agendamento, planejamento da construção da performance; 3) escolha das digitações; 4) resolução das dificuldades motoras; 5) memorização musical. A realização dessas etapas na presente investigação foram subsidiadas pelos referenciais teóricos escolhidos. Este artigo de conclusão de curso está dividido em duas partes principais. Na parte inicial são apresentados os materiais extraídos e selecionados durante pesquisa bibliográfica. Por último, há um relatório sobre a preparação da obra musical, na qual estão discriminadas as etapas e processos de escolhas acerca da literatura previamente estabelecida.
29
"Musical Theatre in Secondary Education: Teacher Preparation, Responsibilities, and Attitudes." Doctoral diss., 2010. http://hdl.handle.net/2286/R.I.8736.
Full textAbstract:
abstract: Since the 1920's, the school musical has been an important event in American high schools and in the lives of students. This study begins with a condensed history of the American musical theatre, into focus on selected shows' value as potential high school repertoire. Review of literature included studies of high school musical theatre, production guides and related materials, and writings both against and in favor of musicals at the high school level. The school musical is usually undertaken as an extra-curricular activity led by performing arts faculty. This study focuses on the preparation, responsibilities, and attitudes of high school music educators toward musical theatre direction. Musical direction is defined as teaching the vocal music, and teaching and leading the instrumental music of the production where applicable. A researcher-designed survey was distributed to Arizona music educators in schools that included grade 12. The response rate was 71%. Questions included items designed to assess the pervasiveness of musical theatre productions, the roles and responsibilities of music educators, and their preparation for those roles. Additional Likert-type questions comprised an inventory measuring attitudes toward musical theatre productions. Results of the survey showed that musicals are produced in 80% of Arizona high schools, and music faculty are expected to lead at least the musical aspects of these productions. Although 62% report that they learned about teaching musical theatre on the job, and that they received no other preparation, 70% report a large amount of personal enjoyment and fulfillment from their work in musical theatre. The mean attitude score for positive feelings about work in musical theatre was found to be significantly higher for choral teachers than instrumental teachers. The primary implications of the study are the need for better preparation and in-service opportunities for music educators in musical theatre pedagogy.<br>Dissertation/Thesis<br>D.M.A. Music Education 2010